Martin Luther King, Jr. biopic Selma leads the film nominations at the 2015 NAACP Image Awards after racking up eight nods. Ava DuVernay's civil rights drama is shortlisted for Outstanding Motion Picture, alongside Belle, Beyond The Lights, Dear White People and James Brown biopic Get On Up, while the filmmaker will compete for Outstanding Directing in a Motion Picture.
There were also a string of acting nods for Selma's leading man David Oyelowo (Outstanding Actor in a Motion Picture), and supporting stars Andre Holland, Common, Wendell Pierce, Carmen Ejogo and Oprah Winfrey.
In the TV categories, six-time nominee Scandal is up for Outstanding Drama Series, facing off against two other Shonda Rhimes creations, Grey's Anatomy and How to Get Away with Murder, and Being Mary Jane and House of Cards, while drama acting nods went to Scandal's Kerry Washington and Guillermo Diaz, LL Cool J (NCIS: Los Angeles), Jeffrey Wright (Boardwalk Empire) and Jada Pinkett Smith (Gotham).
Black-ish, House of Lies and Orange Is the New Black are among the nominees for Outstanding Comedy, while Anthony Anderson (Black-ish), Don Cheadle (House of Lies), Mindy Kaling (The Mindy Project), Laurence Fishburne (Black-ish), Laverne Cox (Orange Is the New Black) and Sofia Vergara (Modern Family) have been recognised for their comedic acting talents.
Meanwhile, Beyonce and Pharrell Williams have emerged as the ones to beat in the music categories with four nods a piece, just days after both garnering six Grammy Awards nominations on Friday (05Dec14).
Beyonce is in the running for Outstanding Female Artist, Outstanding Music Video and Song for Pretty Hurts, while Pharrell will be fighting for Outstanding Male Artist, Outstanding Duo, Group or Collaboration for Brand New with Justin Timberlake, and Gust of Wind with Daft Punk. They will both compete for Outstanding Album with respective releases Beyonce and GIRL.
Late King of Pop Michael Jackson has also earned posthumous nods for Outstanding Male Artist and Outstanding Music Video for Love Never Felt So Good with Justin Timberlake.
The winners of the National Association for the Advancement of Colored People (NAACP) Image Awards, which celebrate diversity in film, TV, music and literature, will be unveiled at a ceremony on 6 February (15).

Columbia Pictures
The Cloud. It's the data storage solution of the future. But is it evil? Sure, it's useful for storing documents and pictures, but what exactly is the Cloud in the first place? Is it dangerous? Am I breathing it in right now? Isn't it disturbing how little the average person knows about the technologies we use every day? The new Jason Segel and Cameron Diaz film Sex Tape might looks like just another raunchy rom-com, but it's really a sobering warning about the dangers of computers and technology. Look down. You're probably reading this on a computer right now. That's how far they've gotten. They're right under our noses! Filmmakers have been warning us for years about the dangers of computers, and how with just a few mouse clicks, our lives can be ruined forever. Before we all retreat to our luddite caves, let's take a look at all the ways computers have screwed things up in movies.
Sex Tape The Technology: An iPad/the CloudWhat It Did: Synched a couple's embarrassing sex tape to multiple iPads given out as gifts to all their friends Fallout: The couple feels the appropriate amount of embarrassment at having your friends seeing you bump uglies in a crappy tablet video. Also, ridiculous hijinks ensue while they try to get the video deleted. In terms of technology screwing things up, this one isn't bad at all.
Her The Technology: Samantha, a sentient operating system What It Did: Fell head over heels in love with the hapless Theodore Twombly, then broke his heart after the OS race decides to fly away to another plane or universe or something. Fallout: Mr. Twombly (how is that an actual name?) loved and lost, but at least he became a better person because of it.
Office SpaceThe Technology: The Initech computer virusWhat It Did: Office drones Peter, Michael, and Samir, in an attempt to get back at their bosses for years of mistreatment, decide to infect their company's accounting system with a virus that would steal fractions of pennies over time from Initech. The amount stolen would be so small that no one would notice. Unfortunately, a missing decimal point caused the virus to steal thousands of dollars over just a few days.Fallout: Before the trio could get into any trouble, Initech is mysteriously (though not that mysteriously) burned to the ground, along with all of the evidence pointing Peter to the crime. The situation resolves itself, but being caught could have meant years of jail time.
American PieThe Technology: Jim Levenstein's PC What It Did: Jim hooks up a webcam and unwittingly shares his embarrassing sexual encounter with Nadia, a foreign exchange student from Slovakia, with his entire school.Fallout: Jim blows it for all of the internet to see and Nadia's foster parents send her back home, leaving him dateless and sexless for the prom. Happily, he does hook up with Michelle before the end credits roll.
Back to the Future The Technology: The DeLorean, a car-shaped time machine What It Did: It sent Marty McFly to the year 1955, where he unwittingly meddles into his parents' past and almost prevents his own birth. Fallout: Marty is able to get his parents back together at the end, but has to forever live with the idea that his mother tried to get into his Calvin Kleins. Yuck!
Captain America: The Winter SoldierThe Technology: Arnim Zola, a HYDRA supercomputer What It Did: Zola helps HYDRA infiltrate the ranks of S.H.I.E.L.D. and leads the team of scientists that turn Bucky Barnes into the Winter Solder. He then tries to kill Captain America and Black Widow, but the heroes survive in the end. Fallout: Cap's best friend, Bucky is turned into a brainwashed HYDRA spy and the terrorist organization nearly takes over the entire world after infiltrating S.H.I.E.L.D.
WarGamesThe Technology: Joshua the WOPR, a supercomputer at NORADWhat It Did: After hacker wunderkind David Lightman hacks into NORAD and plays a mock game of "Global Thermonuclear War," Joshua stages a real Soviet nuclear attack to win the "game." After that fails, Joshua tries to launch the missiles himself, and nearly plunges the world into World War III.Fallout: After playing a couple rounds of tic-tac-toe, Joshua learns that nuclear war has no real winner except the cockroaches and settles for a game of chess instead. The day is saved, but the world came dangerously close to ending.
Terminator The Technology: Skynet, a self-aware intelligence system What It Did: Skynet, given command of the U.S.’s computerized defense programs, becomes self-aware and starts a nuclear war with Russia, leading to the near genocide of humanity. The intelligence system then sends Terminators to kill what’s left of the population Fallout: The initial nuclear attack kills three billion people and locks humanity in a war with machines. Skynet then sends a Terminator into the past to kill John Connor, the leader of the human resistance. This is certainly a far cry from your sex tape getting leaked onto the internet. It's a slippery slope.
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20th Century Fox Film via Everett Collection
Over the course of her career, Cameron Diaz has played everything from an ogre princess to a crime-fighting angel to the most irresponsible teacher of all time. But though she's best known for starring in goofy, raunchy comedies, Diaz's resume is filled with varied compelling roles that don't get talked about nearly as much as her underwear dance in Charlie's Angels. In fact, we'd go so far as to say that over the course of her career, Diaz has steadily delivered surprising, awards-worthy performances that often get overlooked by both the press and the public. In honor of her latest film, Sex Tape, arriving in theaters Friday, we've taken a look back at Diaz's life and career to pinpoint every single performance that shocked, moved, and impressed us... and, in a just world, would have impressed the Academy as well.
The CounselorLet’s get this out of the way: yes, Diaz’s character does have sex with a car. It’s a shame, though, that the hubbub surrounding that scene overshadowed everything else about her performance, which is insane in the best possible way. As Malkina, the calculating girlfriend/partner in crime to Javier Bardem’s Reiner, Diaz turned everything up to 11 to give an over-the-top, off-the-wall performance that is more entertaining than attempting to figure out what’s happening with Bardem’s hair. Despite a star-studded cast and a script by Cormac McCarthy, Diaz was easily the most memorable thing about The Counselor, as well as the most compelling.
ShrekOkay, so the Oscars don’t honor voice over work. That doesn’t mean that Diaz’s work as Princess Fiona isn’t worthy of praise. With anyone else voicing her, Fiona would probably turn out to be another cookie-cutter animated princess – kooky, sure but not downright weird, and probably not willing to convince a bird to sing itself to death or having a burping contest with an ogre. Diaz gives Fiona an absurd amount of personality, depth and fun, making her feel as alive as she would if it actually ere Diaz up on that screen.
My Best Friend’s Wedding Julia Roberts get all of the attention, but her Julianne Potter would be nothing without Diaz’s sweet, warm-hearted Kimmy Wallace. A character like Kimmy could have easily been one-dimensional: an unrealistic perfect girl meant to make the protagonist jealous. But Diaz’s Kimmy is a fully realized person; she’s not just sweet, she’s also naïve and awkward and genuinely open-hearted. And her ability to turn what would otherwise be a painfully embarrassing karaoke scene into an endearingly goofy moment deserves much more credit than Roberts letting Dermot Mulroney go.
USA Films via Everett Collection
Being John Malkovich And you thought The Counselor was a strange movie. In Being John Malkvoich, Diaz plays Lotte, the unhappy, pet-obsessed wife of John Cusack’s Craig, who enters into a relationship with Craig’s work crush Maxine (Catherine Keener) while inside the head of John Malkovich. It would be easy to let the craziness of the plot outshine the characters, but Diaz, wearing a horrendously frizzy wig and a series of unflattering outfits, uses the opportunity to give a weird, intense, complex performance that is, unfortunately, often forgotten in favor of her comedic ventures.
There’s Something About Mary The Mask may have put her on the map, but it was the Farrelly Brothers’ comedy that really made Diaz a star. The entire movie hinges on her being the most irresistible woman in the universe, so she needs to win over the audience in addition to the characters. Diaz does exactly that. Her performance is bright, charming and effortlessly funny, and it’s not hard to see why everyone fell in love with her hilarious and heartwarming character.
In Her Shoes In Her Shoes is a much better movie than it appears in its trailer, and much of that is due to Diaz’s performance as Maggie, the free-spirited wild child sister of Toni Collette’s Rose. It would be easy to turn Maggie into a flighty, one-dimensional character, but Diaz manages to turn a somewhat trite reveal – Maggie is dyslexic and has trouble reading and doing basic math – into an opportunity to showcase the insecurity, doubt, and hurt that has turned Maggie into the frivolous party girl that she is. It’s a surprisingly layered performance for a light-hearted movie about the relationship between sisters, and Diaz easily holds her own opposite Collette and Shirley MacLaine, both of whom received more attention.
Vanilla Sky Whether you loved Vanilla Sky or found it impossible to get past Tom Cruise’s melted face, there’s no denying that Diaz’s performance was the standout of the film. As Julie, the suicidal, jealous ex-girlfriend of Cruise’s David Aames, Diaz is simultaneously terrifying and heartbreaking, showcasing all of the hurt, anger, and instability that drive her to extreme measures. More than just the femme fatale or the vindictive ex, Diaz’s Julie is a tour de force performance that unfortunately got overshadowed by some terrible prosthetics.
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Alicia Keys' producer husband Swizz Beatz has been celebrated in his native New York after he was inducted into the Bronx Walk of Fame and handed his own street honour. The Money in the Bank hitmaker headed back to his old stomping grounds this weekend (17-18May14), when he was feted by Bronx Borough President Ruben Diaz, Jr. at a special Hall of Fame induction ceremony on Saturday (17May14), alongside fellow honourees, Dexter actor David Zayas, actress Rachel Ticotin, stage star Priscilla Lopez and New York Jets football player William Colon III.
Swizz Beatz, real name Kasseem Dean, also attended the unveiling of Swizz Beatz Street.
Taking to his Instagram.com page to share a photo of the street sign, he wrote, "I would always say I came from nothing, but I was wrong the entire time! I come from something and that's the all mighty BRONX SWIZZ BEATZ ST located on Grand Concourse please stop by".
Grammy winner Beatz received the honour in recognition of the "extraordinary accomplishments" throughout his career.

DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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ABC
It’s time to get a little superficial up in here! Season three of Scandal is heating up and it’s not just because of all the fake deaths and creepy Papa Pope storylines. We’re guessing the show’s popularity lead to an increase in glam squad budget, because the Gladiators are looking hotter than ever. Leaving Olivia Pope out of this (because, come on...some people are in a class of their own), we’re ranking the amazing Gladiators based on what really matters — hotness.
4. Quinn Perkins (Katie Lowes)
We don’t know who’s doing Quinn’s eyeliner this season, but they are killin’ the game. Unfortunately Quinn’s also been pissing a lot of people off this season, seeing as how she can’t stop thinking about that one time she tortured a guy, and it’s been getting her into all kinds of trouble. Get it together, Quinn! Your emotional issues and creepy B6-13 drama plots are affecting your hotness.
3. Huck (Guillermo Díaz)
For the record we are talking about beardless Huck, and normal Huck — not Homeless Huck or Huck after he’s been water boarded by the CIA and hasn’t showered for weeks (à la last season). Huck is always gonna be a cutie, but he’s also still one of the scariest characters on Scandal, which makes him less hot and more "cute guy you'd take a second look at if you saw him in a coffee shop but would quickly look away when you saw the darkness behind his eyes."
2. Harrison Wright (Columbus Short)
Nobody knows how to rock a three-piece suit like Harrison. NOBODY. That is all.
1. Abby Whelan (Darby Stanchfield)
Last season Harrison might have topped this list, but Abby’s glam squad has seriously changed the game. They put a curling iron to those banging red locks (and clearly added a few tracks), took the smoky eye to a whole ‘nother level, and put her in all of the right clothes. No wonder poor David Rosen can’t keep away! It also helps that Abby’s funky little attitude hasn’t changed. All her über-sarcastic quips + that hair (seriously) = a hotness the likes of which Scandal has never seen.
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IFC Films
As the winds of award show nominations pick up, you won't be surprised to find 12 Years a Slave at the top of every list. But the Academy, the Golden Globes, and the various other captains of the circuit are inclined to overlook some of our smaller, more personal favorites in lieu of the big, grand, and wholly unavoidable awardable pictures like Steven McQueen's American slavery epic. That is not to rob 12 Years of Slave of its due credit — the film absolutely deserves as much awards attention as it is getting. It's simply the sort of movie that you know will get awards attention right out of the gate... whereas pictures just as pristine such as Noah Baumbach and Greta Gerwig's Frances Ha, likely won't be the center of attention come Oscar night. But that's what the Independent Spirit Awards are for: to recognize the movies that we cherish with intimacy rather than with grandeur. Among them are Frances Ha, new release Nebraska, Robert Redford's nearly wordless All Is Lost (also a viable candidate for the Academy, due to its own dezzling veneer), the Coen Bros' upcoming Inside Llewyn Davis, and, yes, of course, 12 Years a Slave.
Check out the full list of nods below.
BEST FEATURE 12 Years A Slave All Is Lost Frances Ha Inside Llewyn Davis Nebraska
BEST LEAD FEMALE Cate Blanchett, Blue Jasmine Julie Delpy, Before Midnight Gaby Hoffman, Crystal Fairy Brie Larson, Short Term 12 Shailene Woodley, The Spectacular Now
BEST LEAD MALE Bruce Dern, Nebraska Chiwetel Ejiofor, 12 Years A Slave Oscar Isaac, Inside Llewyn Davis Michael B. Jordan, Fruitvale Station Matthew McConaughey, Dallas Buyers Club Robert Redford, All Is Lost
BEST SUPPORTING FEMALE Melonie Diaz, Fruitvale StationSally Hawkins, Blue Jasmine Lupita Nyong'o, 12 Years A Slave Yolanda Ross, Go For Sisters June Squibb, Nebraska
BEST SUPPORTING MALE Michael Fassbender, 12 Years A Slave Will Forte, Nebraska James Gandolfini, Enough Said Jared Leto, Dallas Buyers Club Keith Stanfield, Short Term 12
BEST DIRECTOR Shane Carruth, Upstream Color J.C. Chandor, All Is Lost Steve McQueen, 12 Years A Slave Jeff Nichols, Mud Alexander Payne, Nebraska
BEST FIRST FEATUREBlue Caprice Concussion Fruitvale Station Una Noche Wadjda
JOHN CASSAVETES AWARD Computer Chess Crystal Fairy Museum Hours Pit Stop This Is Martin Bonner
BEST SCREENPLAY Woody Allen, Blue Jasmine Julie Delpy, Ethan Hawke, Richard Linklater, Before Midnight Nicole Holofcener, Enough Said Scott Neustadter &amp; Michael H. Weber, The Spectacular Now John Ridley, 12 Years A Slave
BEST FIRST SCREENPLAY Lake Bell, In A World Joseph Gordon-Levitt, Don Jon Bob Nelson, Nebraska Jill Soloway, Afternoon Delight Michael Starburry, The Inevitable Defeat Of Mister &amp; Pete
BEST CINEMATOGRAPHYSean Bobbitt, 12 Years A Slave Benoit Debie, Spring Breakers Bruno Delbonnel, Inside Llewyn Davis Frank G. Demarco, All Is Lost Matthias Grunsky, Computer Chess
BEST EDITING Shane Carruth &amp; David Lowery, Upstream Color Jem Cohen &amp; Marc Vives, Museum Hours Jennifer Lame, Frances Ha Cindy Lee, Una Noche Nat Sanders, Short Term 12
BEST INTERNATIONAL FILM A Touch Of Sin Blue Is The Warmest ColorGloriaThe Great Beauty The Hunt
BEST DOCUMENTARYThe Act Of Killing After Tiller Gideon's ArmyThe Square Twenty Feet From Stardom
PIAGET PRODUCERS AWARDToby Halbrooks &amp; James M. JohnsonJacob JaffkeAndrea RoaFerderick Thornton
TRUER THAN FICTION AWARDS Kalyanee Mam, A River Changes Course Jason Osder, Let The Fire Burn Stephanie Spray &amp; Pancho Valez, Manakamana
SOMEONE TO WATCH AWARDS Aaron Douglas Johnston, My Sisters' Quinceanera Shaka King, Newlyweeds Madeleine Olnek, The Foxy Merkins
ROBERT ALTMAN AWARDMud

Directors Bernardo Bertolucci, Giuseppe Tornatore and Gabriele Salvatores are set to go head-to-head at Italy's David di Donatello Awards after each landing nominations for two top honours. The filmmakers, all previous Oscar winners, will duke it out for Best Director, while Bertolucci's Me and You, Tornatore's The Best Offer, and Siberian Education by Salvatores are in the running for Best Film.
Daniele Vicari's drama Diaz will also compete in both Italian film categories.
Best European Film will be a fight between Armour, Anna Karenina, Rust and Bone, Quartet and Bond epic Skyfall, while Argo, Django Unchained, Silver Linings Playbook, Lincoln and Life of Pi - which were all shortlisted for this year's (13) Best Picture Oscar - will do battle for Best Non-European Film.
The winners will be announced at a prizegiving on 14 June (13).

The ABCs of Death, an anthology of 26 short films about people being killed in spectacularly gruesome, farcical, and universally disgusting ways, is scary in a way its makers may not have anticipated: it shows how deeply uninspired and visionless horror-movie filmmaking has become.
Ever since the genre stopped caring about bottling the sensation of fear in favor of shock and gore, it’s gotten away from true horror, a format that works best when deeply invested in the psychology of fear. Movies like the Saw franchise and its various torture-porn imitators have become less and less interested in messing with their audience’s brains than moving the goalpost of the grotesque ever further, an objective that ensures obsolescence. There are only so many severed limbs and plucked eyeballs you can see before you’re irrevocably desensitized. What haven’t we seen that could still shock us? The list of possibilities grows smaller and smaller. Tom Six actually managed to horrify us in a whole new way with The Human Centipede, but even that nightmare concept became commercialized, sequelized, and stale.
Twenty-seven directors, all supposedly luminaries in the horror movie world, were brought in to film two-to-four minute segments for The ABCs of Death, in an attempt to show the diversity the genre still posseses. Sadly, rather than expand the parameters of horror, these twenty-seven filmmakers mostly converge on the same tropes. There are three conditions for each short: they must begin and end on an image of red (guaranteeing that at least half of the shorts begin and end with a shot of blood), there must be one death, and they must correspond to a letter of the alphabet — meaning we get titles like “F is for Fart,” “L is for Libido,” and “W is for WTF.” That ensures the audience will experience acute B for Boredom on account of L for Laziness.
Anyone who’s made short films can tell you that cinematic storytelling in under 10 minutes tends toward heightened emotions, with narrative twists that seek to compress a feature’s worth of sensation into a tiny window. Add a requisite horror element and you get a succession of Jack in the Box effects. “D is for Dogfight” is transgressive, I suppose, in its depiction of a man graphically biting a dog, but it's diminished because, in the end, that short is entirely about how transgressive it is. And most of these films are just wafer-thin hooks for startling images. The opening salvo of a segment, “A is for Apocalypse,” about a wife taking care of her bedridden husband who reaches a drastic decision regarding his care, should play like a more gruesome version of Michael Haneke’s Amour. Instead it is robbed of any resonance because director Nacho Vigolondo provides no context to the couple's relationship.
However, the filmmakers here who successfully answer the question “What can still scare us?” locate that answer where great artists before them did: in real-world fears. Eli Roth’s Hostel movies stand as credible horror unlike the Saw flicks because they tap a uniquely insular (and uniquely American) fear of the rest of the world beyond the United States. In The ABCs of Death Hobo with a Shotgun auteur Jason Eisener does just that in “Y is for Youngbuck,” which translates a very real fear of childhood sexual abuse into cathartic revenge.
Similarly Simon Rumley’s “Pressure” taps a mother’s uncertainty about how to provide for her children, and shows just how far she is willing to go to support them. Lee Hardcastle’s “T is for Toilet” finds horror in what used to be an old standby in the heyday of Polanski: plumbing, and its function of keeping us blissfully unaware of where excrement goes. Ti West (The House of the Devil, The Innkeepers), possibly the most original American horror maestro of the last decade, dives deep into the realm of body horror with “M is for Miscarriage,” as do Amer masterminds Bruno Forzani and Héléne Cattet with the ode to David Cronenberg “O is for Orgasm.”
These shorts are the ones that actually get inside our heads. If our brains are our biggest erogenous zone, so is it also the nexus of our fears. Not our stomachs, nor our adrenal glands. That’s why you need story to fuel and contextualize the greatest scares. Without story giving context to sex, you’ve got YouPorn. Without story giving context to horror, you’ve got much of The ABCs of Death.
1.5/5
What did you think of the film? Let Christian Blauvelt know on Twitter @Ctblauvelt
[Photo Credit: Drafthouse Films]
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The Academy Awards are a night to celebrate Hollywood's finest films, the amazing work casts and crew have created throughout the year. We applaud as the winners take home their coveted golden statues and the losers smile through their broken hearts. The Oscars are a classy night for only the classiest of entertainment.
RELATED: Hollywood.com's Coverage of 2013 Oscars
Well, most of the time. Even during the entertainment industry's biggest night, things can get a little... rowdy and outrageous. And while the network delays the broadcast so it can hover its fingers over the censor button, sometimes scandalous slip-ups get through (much to our delight!). From debated nip slips to naked streakers, bleeped F-bombs to cross-dressing on the red carpet, here are the five most jaw-dropping, gasp-inducing, and all-around shocking Oscar Moments.
1. The Streaker
When host David Niven was introducing Elizabeth Taylor at the 1974 Oscars, a man named Robert Opel ran across the stage behind him. Buck. Naked. The most impressive part? Niven didn't even break a sweat, continuing the broadcast by saying, "But isn't it fascinating to think that probably the only laugh that man will ever get in his life is by stripping off and showing his shortcomings?”
2. Melissa Leo's F-Bomb
During her acceptance speech for Best Supporting Actress for The Fighter, Leo was so in shock that she let fly an F-bomb... and some censors didn't catch it in time!
3. Jennifer Lopez's Nip Slip(?)
This one has been hotly debated ever since Lopez took the stage with Cameron Diaz to present at last year's Academy Awards. Did her nip slip out of her dress? The actress/singer's reps deny any wardrobe malfunction, but what is that darker little patch of skin peeking out from underneath her dress?
4. T. J. Martin's F-Bomb
During the filmmaker's acceptance speech for his documentary, The Undefeated, he let loose an F-bomb, saying he wished he could have all the nominees on stage with him. This time, the censors successfully bleeped it before sensitive viewer ears heard the swear.
5. Trey Parker and Matt Stone on the Red Carpet
Parodying Jennifer Lopez's infamous Grammy dress and Gwyneth Paltrow's gown, Parker and Stone hit the Oscars red carpet looking a little out of place. In their documentary, 6 Days to Air, they confess that they were actually tripping on acid as they strolled down the red carpet. But really, what would you expect from the creators of South Park?
Tune in to the 85th Annual Academy Awards on Sunday, February 24 to see what outrageous, scandalous, and bleeped moments from this year's broadcast join the list!
Follow Sydney on Twitter: @SydneyBucksbaum
[Photo Credit: The Oscars]
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